David Baay

Fine, but the poster to whom I was replying mentioned Ozone, specifically.

I was only referring to the slowness of Ozone's tooltips. It's the same in Platinum so it appears to be a "feature" of the plugin and is not new to this release in any case. Otherwise, as I said, I'm not seeing any other "sluggishness" in this release. So whatever that user has going on is likely project- or environment-specific. At the very least, the Bakers will need a copy of the offending project with steps to reproduce the issue and a description of actual vs. expected results.

Can you share a copy of one of these projects to be tried on another machine? Chances are it's your environment, but it could be something in the configuration of the project or CbB Preferences. In any case it's doubtful the files are corrupted in some way, and it should be fixable. If it's your environment, the first thing to check would be DPC latency: https://www.resplendence.com/latencymon EDIT: The tones might be from a plugin that needs to be re-authorized. But I've never heard anything like that with the transport not running. Or it's coming from another audio source sharing the driver or the hardware itself.

Having done thousands of hours of MIDI editing using many differnt techniques over the years (and made many mistakes along the way), I have to think this is due to a procedual error of some sort - likely involving the inadvertent selection of offscreen notes as you surmised. A seemingly random selection could be the result of using Process > Find/Change or the related Edit > Select by Filter. Are all the short notes the same duration now? Different note numbers and not the same note in differnet octaves? Different velocities, Different beat:tick times? Is the clip contiguous or made up of copied/slip-edited snippets? Hopefully you have earlier copies of the project from which you can recover the original MIDI. EDIT: I should add that Process > Find/Change or a combination of Edit > Select by Filter and the Event Inspector may actually be your friend in recovering from this. You can use them to find all the short notes and lengthen to some fixed value or by a percentage of the current length.

Not seeing any kind of sluggishness here. The only responsiveness issue I see in Ozone (11) is that tool tips are extremely slow to pop up, but it's the same in Platinum 17.10 which is my quick reference for performance and behavior of long-standing functionality. EDIT: I would recommend to re-launch and/or reboot and, if the issue persists, try in a new project - preferably started from an included template.

Instrument Definitions are for managing outboard 'hardware' synths connected to physical MIDI ports. If you don't have a standalone interface with MIDI ports and keyboard synths or rack modules connected to those ports or directly via USB MIDI, Instrument Definitions are not applicable. If you don't have that MIDI hardware, most likely you need to watch some Youtube tutorial videos on using software synths in Cakewalk. EDIT: I should add that support for onboard GM "Wavetable" synths and the MIDI Out port they usually present to the O/S and thus to Cakewallk's MIDI Device list has recently been removed from CbB since they are not supported by Windows 11. So if that's what you were expecting to see in MIDI devices, that's why it's missing.

Sampling and DSP don't work that way. The only thing that matters in reproducing and processing pitch information is the sample rate; and for purposes of accurately reproducing a vocal pitch and timbre (i.e. the mix of harmonics of the fundamental pitch) you just need to sample at rate that's twice the highest frequency you care about. A quick Google says female voices don't produce harmonics above about 17kHz, so 44.1kHz has that completely covered even without anti-aliasing filters. Bit depth is how precisely you measure the instantaneous amplitude of the sample and only determines sigal to noise ratio and dynamic range; it has no bearing on the accuracy of pitch and timbre analysis and processing. So there's really nothing to be gained from doing the FFT processing to change pitch at 32 or 64 bits vs. 16 bits. The more important thing is how you manage the harmonics that make up a voice's timbre to maintain that timbre as you change pitch, and the algorithms used to extract and process attack sounds vs. sustained tones and pitch bends. The sometimes gross alterations of timbre that Melodyne and similar tools cause are orders of magnitude greater than the miniscule and largely inaudible gains in harmonic distortion and S/N ratio you get from recording and processing at higher sample rates and bit depths. Those gross errors are due to shortcomings of the algorithms that are determining exactly how the audio should be altered achieve a natural-sounding result, not the precision of the alteration process. Audio stretching algorithms have the same issues, regardless of what sample rate and bit depth they're operating at. Machine learning may well help make breakthroughs in this area.

Not really any value in debating point by point since neither of knows exactly what's going on under the hood, but I'll just broadly say: - I'm pretty sure that any audio quality problems with Melodyne output have mostly to do with inherent limitations of the technology of editing pitch/formants, and very little to do with bit rate. - I've previously tested and verified that if you don't make any editing changes to a Melodyne clip and just bounce it to a new file, it will continue nulling to near silence (like -120dB) with the original file even after a dozens of generations. If you make changes, audio downstream of an edit will tend shift position by a few samples such that you have to re-align it (with sub-sample precision) to null with the original, but in the absence of that inverted-phase reference, there is no audible effect on unedited parts of the clip. - The issues around punching and comping with Melodyne appear all to be related to passing the muted/cropped/faded/clip-enveloped state of a clip to Melodyne and refeshing it every time an edit is made so that it always displays and processes only the parts of the clip(s) that would be audible in the absence of Melodyne. It's not 100% clear that this is purely a problem with CbB and not a limitation of ARA (which is a Celemony-developed technology IIRC), but given that the problem can be worked aorund as described it does seem possible the Bakers could fix this without changes to ARA. They may just not have anticipated all the ways in which a user might edit clips after an ARA FX had already been applied, and that some of those edits might be the result of automatic slip-edits applied by punching, comping, auto-crossfades, etc.

Exactly. Having the rug pulled out from under you implies your ***** is hitting the floor before you know what's happening. That's not the case at all here. All indications are that everyone will have plenty of time to make decisions about what they are or aren't willing to pay for and act accordingly over what clearly will be a matter of months. More like having the rug wear out under you. ;^)

Thanks for the tip. I just installed it, and told it not to migrate anything from other browsers for the time being. I don't save passwords anywhere other than my head anyway. ;^)

Is it only multitimbral synths that are failing? Possibly the transmit channel changed on the keyboard, and only non-multitimbral synths that don't require setting a matching receive channel are responding.

+1 on using Zip files to archive projects. To disable Audiosnap on all tracks of a project where you haven't made changes: - Ctrl+A to Select All - Expand the Audiosnap section of the Clip Inspector on any audio track. - Click twice to toggle the Enable option from '(Multi)' to checked and then back to un-checked.

It's not among the fixes listed for the latest EA update, and I verified it's still broken. Will likely have to wait for the new Sonar. EDIT: Somewhat good news: I just found an easier - and completely effective - workaround. Right click the track and Duplicate Track with all options enabled except Linking. All the sections of the clip will display in Melodyne and sound as expected in the new track. It should be a perfect copy of the original in every other respect so you can just delete the original. EDIT 2: Correction: You have to take both actions to fix it: Slip-edit the clip, Undo, and then Duplicate. Duplication alone does not change anything.

The errors says "Invalid Filename" and, if I'm interpreting the plugin header correctly, it appears the preset name has a colon in it "2: Acoustic 12th"...? That could definitely be a problem. But I would have expected the previous release to have the same issue. The EA release notes do mention the following items, but I'm not familiar with this funcitonality so not sure of its relevance: - VSTScan not properly removing compatibility entries when rescanning a plugin that has been updated - Persist compatibility updates for VST

But you can't use live VST FX that way. I input monitor my keyboards all the time with reverb, chorus, flanging, delay, distortion, etc from plugins. With a 64-sample buffer I get a measured RTL of 4.5ms ( 3.6ms if the keyboard has ADAT out). This amount of latency is a total non-issue unless maybe you're singing, and I don't sing. ;^)

It's not in final release yet.

All plugins should work both ways. You might just need to make sure CbB knows all the paths that SONAR 2017 is scanning if any are non-default. Might need some clarification of the routing to answer your second question. If the Interface is not set to pass input signals to the headphone out (i.e. Direct Monitoring), and the tracks in SONAR do not have Input Echo enabled, you should not hear anything other the direct, acoustic sound during recording. What interface?

What exactly are you dragging, from where to where, and what are the exact symptoms of "no luck"?

The curse of familiarity is making everyone blind to the basics: Live input signals have to be echoed to the output of the track in order to get to a bus or output. You do this by clicking the Input Echo button in the track header: Off: On:

Two tips: - Drag in the lower half of the clip with the default Smart tool to get the Selection tool; dragging in the upper half will move the clip with the Move tool. - Holding Ctrl gets you a copy instead of a Cut, and you will probably want to hold Shift as well to constrain the drag to preserve the timing of the clip.

That might happen if you inaadvertently put two notes on one beat requiring an impossibly high tempo or, in this case, if you kept the three songs together and had a lng gap between the end of one an the start of the next that would require a tempo less than CbB's minimum of 8 bpm. Also, Fit Improv requires a note on every beat; notes on downbeats would be interpreted as quarters, resulting in tempos that are 25% of what they should be. But you can use that guide track with Set Measure Beat At Now, itshould give a good result. I would start by setting the Now time at the downbeat that should be 5:01, hitting Shift+M, and entering that measure and beat and OK. That'll give you a reasonably accurate average tempo so CW can accurately guess the other beats. Select the MIDI clip and use the Tab-to-notes feature to go out another 4 measure and Set that 9:01 which CbB should guess correctly so all hou have to do is hit Shift+M and Enter. Then you just keep going: Tab, Tab, Tab, Tab, Shift+M, Enter, Tab, Tab,Tab,Tab, Shift+M, Enter... as fast as you can. You can speed that up even more by binding a single key to SM/BAN in key bindings. I use it so much I bound S for "Set". If you make a mistake or get a "tempo out of range" error, Ctrl+Z to Undo and make sure you're setting the right note to the right measure/beat. At some point, you should stop and listen to the piece with the playback metronome running and see how it sound. If the performance was reasonably tight, a tempo every 4 measure might be enough. If there are rough spots, you can go back and set intermediate downbeats as needed or even every measure. The beauty of SM/BAN is that you can set as many or as few points as needed to get what you want, and you can even set fractions of beats (just remember that they're decinmal values, so an 8th note between to beats is .500, not 480 ticks). And finally, Set Measure Beat At Now is only as precise as your precision in setting the Now time to the transients. You can Tab to transients (Shift+Tab to go backward) in an audio clip just as you can Tab to notes in a MIDI clip, but CbB may not place the marker exactly at the beginning of a transient, and you will likely need to enable Audiosnap and raise the Threshold slider in the Audiosnap Palette to disable superfluous markers for transients between beats so you're not Tabbing 8-16 times to get through a measure. Clear as mud? Sorry, this stuff is always easier to do than to describe. ;^)

I must respectfully disagree that music played with a free tempo is necessarily "garbage". ;^) I'm a big advocate for using Set Measure/Beta At Now (SM/BAN) for this purpose. But in some cases, it might be quicker - if somewhat less precise - to create a MIDI Guide Track with one note per beat (i.e. quarters), and run Fit Improvisation against that track to create the tempo map. Audiosnap can be used to take a first whack at generating the notes of the guide track to be dialed in manually as needed, but I wouldn't recommend trying to use Audiosnap - Set Project from Clip with no manual intervention. And, of course, there's drag-audio to-timeline to have Melondyne (Essential is available as a free add-on for CbB) to create a tempo map, but I don't like some aspects of what it does (namely interpolating "smooth" tempo changes at every 8th note even where no notes exist), and it's not always 100% accurate, either. Like Audiosnap, Melodyne might best be used for extracting MIDI to get a head start on creating a guide track for Fit Improvisation. In any case, I would advise separating the three songs into separate projects, and trimming/dragging the audio files to start at 1:01:000 in each project - or with the first downbeat on 2:01:000 if there are pick-up notes. I've given steps for using SM/BAN to do this many times before, but if the OP wants to share one of the tracks - or part of one - I'd be happy to have a look and give specific guidance for applying one or both methods. The exact steps needed can depend significantly on the nature of the recording

I think it's more important to point out that an EA is a candidate for final release, not a beta. As such, it should be quite solid and stable but it's always possible that a new feature has issues with a certain workflow or project configuration that was not encountered by the beta team or that some change introduced a regression in related functionality. I would therefore advise that EA users who encounter problems should review the list of fixes/features in the EA release post to see if there's anything there that seems even remotely related to the issue they're having. If the code that governs the functionality they're using hasn't been touched, it's highly unlikely the issue is new and specific to the EA release, and it should be reported in the generic Feedback thread instead of the EA release thread or - better yet - posed as an open question to the community to see if non-EA adopters can reproduce it. It's human nature to attribute "new" problems to recent changes, and being aware of correlations like that is an important part of troubleshooting, but you have to take care not to jump to conclusions.

I agree. I don't recall ever encountering a serious issue with persistence of clips edits from one sesison to another, but a project- or workflow-specific bug is always possible. The one thing I know of that's not saved properly right now are tweaks to transient marker positions in an Audiosnap clip. And there have occasionally been certain preferences like RMS+Peak meters that would fail to save (actually I think that one's also still with us), but rarely has anything affected the sound of a project. Whatever is happening won't likely get fixed without a reproducible example.

I have always saved with incremental numbering. I work on v10 then save as v11. Work on v11 and save as v12. I have never created sub folders for each version. I just stack them up in one folder per song. Do you need a video? @Noel Borthwick I'm pretty sure I've seen this before this release when doing Save As to a network share as it appears Max is doing here. I can reproduce it now by: - Open a project from either a network drive or a local drive. - Save As and navigate to a network folder. - Create a new folder there and click to open it, then click Save, - Okay the warning that your are overwriting an existing file (though you are not). - Get the access denied error. EDIT: Cross-posted with Mark. I see he's on it.